Zitat des Tages über Motown:
Back in the day, Motown was on the pulse of young America. It wasn't about just dope contemporary. It was pop, it was R&B, it was all of that.
I knew I wanted to do music at eight years of age. I listened to a lot of Motown growing up, and it got to the point where I started mimicking people - Michael Jackson or whoever. People started to notice I could hold a tone. The bug was always there.
I love Motown, but I've obviously always been more of a Memphis soul fan. If it's Stax or Motown, I go Stax.
I went from elementary school to proper training, operatic training, and I went on to the Motown University and learned a lot of things from some wonderful people.
Motown's policy was to build one act at a time or their favorites.
I love to sing old Motown songs to myself, or some Patti Smith Edith Piaf or Billie Holiday. That gets me in the mood for singing.
Once you're a Motown artist, that's your stigmatism, and I was there from the very first day.
Many of my friends were there at Motown. The studio was only a few blocks from where my dad's home was, where we lived.
One of my strongest memories is my father playing bongos in the living room in Detroit listening to Motown radio. He was this skinny white bald guy, but he was really moved by blues and Motown and funk.
Motown will always be a heavy-duty part of my life because those are my roots.
Well, I had an after hours club in Vancouver and when any of the Motown acts would call.
I would describe my sound as classic Motown.
Growing up, I was listening to a ton of Motown music, Otis Redding, Aretha, and then there was the Beatles and Led Zeppelin and Janis Joplin. These were all people that I felt as though they truly felt every single lyric they said, and they weren't afraid of imperfection.
I feel Motown really exploited me.
Artist development is something that I've been passionate about from my days at Uptown and Motown Records.
My mom was a huge Adam and the Ants fan. My granddad listened to a lot of Motown and Elvis and Johnny Cash. So I was kind of well-rounded.
When we were first started we were doing a lot of Motown stuff, but actually playing it more in a rock way. Everybody in the band sang and we did a lot of harmonies.
Music has always been in my family, but it was mainly keyboards. I learned to play classical piano, but when I first heard the amazing bass guitar of James Jamerson, who played on all the big Motown hits of the '60s and '70s, I knew bass guitar was my instrument.
I left Motown because of the regime of people who were there.
Music has always been a big part of Cheech & Chong's career, so it's just natural. You know, I was a musician before I met Cheech and had a record with Motown, and so I've got the cred.
People still look at Michael Jackson as being a Motown artist.
I've discovered that Motown and Broadway have a lot in common - a family of wonderfully talented, passionate, hardworking young people, fiercely competitive but also full of love and appreciation for the work, for each other and for the people in the audience.
Growing up, I never listened to English music. I was more into Motown, as well as early rock n' roll like Chuck Berry and Little Richard.
I love funk and soul and Motown.
I grew up in Marcy Projects in Brooklyn, and my mom and pop had an extensive record collection, so Michael Jackson and Stevie Wonder and all of those sounds and souls of Motown filled the house.
My father loved music. He loved Motown and R&B, and my mother loved Journey and Fleetwood Mac, so they were always listening to it and playing it.
I grew up not far from where Motown was founded, maybe 300 miles from Detroit and I've always liked - I used to like the way they made records. I still do, I just haven't had a chance to hear as much. They used to entertain me.
Sometimes you're inspired by an old-school song that you want to chop up and make a sample out of it. I find that with a lot of older Motown music.
I don't ever balk at being considered a Motown person, because Motown is the greatest musical event that ever happened in the history of music.
When we did a lot of that Motown stuff there were four of us on the front line. When we started the evening we'd start from one end of the band and just go along. The lead singer would change all the time. That's the first time that I actually managed to put it into a record.
We call 'Ain't No Mountain' the golden egg that landed us at Motown.
There are certain things that we take for granted that simply would not have existed without the great migration. Motown, for example, would not have existed - it simply would not, because Berry Gordy, the founder of it, his parents had migrated from Georgia to Detroit where he founded Motown, and where did he get his talent?
Without the Fender bass, there'd be no rock n' roll or no Motown. The electric guitar had been waiting 'round since 1939 for a nice partner to come along. It became an electric rhythm section, and that changed everything.
Growing up, I liked all the stuff that everyone else was listening to, like Motown, but the biggest group of all was The Beatles.
I think there's a void for some authentic soul music with an edge. I think there's some people who grew up with Motown and Stevie Wonder that still can appreciate Future, Drake, and all these different things, too, but there shouldn't be a void for those people, as well.
I've performed in Auburn Hills, at The Palace, so I haven't really been in downtown Detroit, but I've been able to be here, and I can really see, what the city was. Like, I can feel why Motown started here and how amazing it was.